As Dwight Lanmon and Francis Harlow state in their book, The Pottery of Zuni Pueblo, there were still some potters at Zuni in the 1920s-1930s who were making pottery equal in quality to that collected by Stephenson for the Smithsonian in the late 1800s. This jar is clearly an example of that quality and condition and it has traditional designs. Unfortunately, at this time we don't have enough documented jars to make a solid attribution to the potter. Pueblo pots were generally left unsigned until after World War II.

This pottery olla has exquisite design, symmetry and form. The strong contest between posit and negative is also something to be valued. Condition is excellent. As is true for most Zuni pots, the clay is relatively thin-walled. The native clay from that area has kaolin in it, which is also in porcelain, and it gives strength to the pot. The paints are local mineral paints. This jar was coiled, smoothed with a stone or gourd, painted with a yucca brush, and then fired outdoors over a fire made of cakes of sheep dung and straw.